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no001 fete no002 sky no003 sky no004 morning no005 wind no006 rain no007 dolphin no008 dolphin no009 solar eclipse no010 fog no011 water, glass no012 fog no013 carps no014 garden no015 ruin no016 fish no017 fog no018 fog no019 ball no020 snow no021 window no022 new year's day
Numinous tracings of beautiful light on the sea, augmented by the artifice of video.
By folding repeated journeys along the same route on different dates and times into a single instance, this work expresses both the repetitive routines of daily life and the minute variations they produce.
The focus shifts very slowly from the room’s interior to the outside. During this long and steady journey of the gaze, the sounds and sceneries of the indoor and outdoor settings blend into each other, until it becomes difficult to discern which is which.
A studio contains only the camera in a corner of the room. The filmmaker is absent. While rotating, the camera alternates between close-ups and wide angle shots of the studio.
Human eye adjusts the brightness of the light automatically, but Camera eye can control the brightness freely. Camera eye can see the darkness in the light of day, and can turn the dusk into the morning sunshine. When the white room is getting darker and lighter, you surely witness that's form is sublimated.
“This work was commissioned by the Kuma Museum of Art (Ehime Prefecture). It revolves around scenery in Ehime Prefecture and Matsuyama-born film director Itami Mansaku. It begins in Shinonome, the setting of a short story by poet Nakamura Kusatao which is thought to be a depiction of his friendship with Mansaku, and follows Mansaku as he return to Matsuyama from Kyoto where he has become a film director and visits Omogo and Ishizuchi.” (from the catalog of Image Forum Festival 2010)
This work is one film of the omnibus ‘Seeing’. About ‘Seeing’: “Filmmaker Matsumoto Toshio, a pioneer of experimental film in Japan and an advocate of Neo-Documentarism since the 1960s, conceived and structured this omnibus film, directed by six experimental filmmakers. Based on the theme of ‘seeing’, proposed by Matsumoto, the six directors approach the subject from varying individual perspective and develop their own unique images. The film addresses fundamental questions: What does it mean to ‘see’ things, and What does it mean to ‘make films’?” (from the official catalog of Yamagata International Documentary Film Festival 2009)
When we are in the dark, we can see only the sign of the space. The moment the light comes into the room, we can see another space. This space is the incorporated like smoke construction that is composed of the dark, light and time.
You can see the woman sitting still and the landscape in turn. In this film, the character is not the heroine, and is equated with the landscape. As the subject is equated with the existence of a film too, the difference of time each having is presented in this film.